
















E 


— AND — 

OTHER ENTERTAINMENTS. 



MARY H. MATHER, 

Superintendent of Department of Entertainments, N. W. C. T. U. 


Price, ... $ .15. 

Per Dozen, - - - 1 . 50 . 


COPYRIGHT 1889, 

Woman’s Temperance Publication Association, 

161 LA SALLE ST., CHICAGO. 

CX? 












Copyright 1889, 

Woman’s Temperance Publication Association. 


Y E HATCHET PARTIE. 


\^For the celebration of Washington's birthday .] 

[Characters: Ye Hatchet Familie. The Hatchets are dressed 
in old-fashioned costume, and each one carries a pasteboard 
hatchet in her right hand, the head resting on her shoulder with the 
sharp edge pointing toward her comrade in the rear. They enter 
at left of room, and, with profiles to audience, march around to 
the flag-draped chairs placed in a row for them. They keep step 
to the music of a lively march, courtesying at regular intervals. 
With each courtesy every Hatchet brings her pasteboard hatchet 
down with a quick motion from her shoulder and then returns it 
to place again. With a final courtesy they take their places in 
order on the chairs, and the leader, Georgiana Washington 
Hatchet, makes her address as follows:] 

Sisters and brothers in this broad land of Columbia, 
we greet you to-night in memory of one, scholar, sol¬ 
dier and statesman, whose natal day we are now gath¬ 
ered to celebrate. He is one whose record will descend 
throughout all ages, whose name will echo throughout 
the centuries as — 

[Georgiana turns with a gesture of command to the other 
Hatchets, who rise and repeat in chorus, with a strong accent on 
the word “first”:] 

“George Washington, first in war, first in peace, 
and first in the hearts of his countrymen.” 

G .— Right, noble Hatchets! You are worthy of 
your hatchet ancestor, whose fame will never grow 
dull, however blunt its edge; that ancestor, which* 
wielded by the skillful hand of the future warrior* 
worked the ruin of which, perchance, you may have 
heard. 

And we are here to-night as witnesses not only of 
the deed of that famous chopper, but we are here as 



2 


YE HATCHET PARTIE. 


t \ie Historic Scriveners of other deeds, enacted by other 
choppers in other climes, or, in the poetical words of 
my sisters — 

[Hatchets rise and repeat:] 

“As Washington the Sapling cut 

In 1743. 

So others oft have tried to chop 
The great Intemperance Tree.” 

G .—Of different natures, tastes and dispositions, we 
are all united in the common desire to recount truly all 
facts relating to the chopping down of the huge tree of 
Intemperance. 

For myself, my name declares my character — 
Georgiana Washington Hatchet, Eldest of Scriveners, 
native of Washington Territory, lover of cherries. 

[Georgiana holds up a small bunch of artificial cherries and 
gazes at them admiringly for a moment.] 

Influenced, it may be, by the air of our native clime, 
we received the names that have gained for us the title 
of the “ Presidential’ for we are — 

Johanna Adams Hatchet, 

Tomazine Jefferson Hatchet, 

Jamesina Madison Hatchet, 

Jemima Monroe Hatchet, 

J. Quinciana Adams Hatchet, 

Andrewsia Jackson Hatchet, 

Wilhemina Henrietta Harrison Hatchet, 
Johnesetta Tyler Hatchet, 

Marty Van Buren Hatchet, 

Jinny Keturah Polk Hatchet, 

Zacherina Taylor Hatchet, 

Millarella Fillmore Hatchet. 

[As Georgiana mentions each name the Hatchet rises and 
courtesies. Andrewsia does this in a very slow and sorrowful 
manner, and otherwise takes no part in the responses. She sits 
silent and sad,— occasionally wiping away a tear of grief. 
Georgiana continues:] 

I was left at an early age in charge of my smaller 


YE HATCHET PARTIE. 


3 - 

sisters, and even then, discovering the aptitude of my 
now historical relatives, I resolved that each should 
receive the training and education necessary to her 
complete mental development. This, by untold care 
and perseverance, after years of labor, has been accom¬ 
plished, and to-night I can present to you my renowned 
sisters thoroughly equipped as statisticians and musi¬ 
cians devoted to their work. Of their ability you must 
now be the judge, as I question them concerning that 
which they have learned. 

1. When was the need of Temperance chopping 
first felt in America? 

Wilhemina Harrison. — One hundred years ago. 

2. Who was the pioneer in the work? 

yamesina. Madison. — Dr. Benjamin Rush. 

3. When was the first local society organized? 

yemima Monroe. — In 1808. 

4. When was the first general society organized? 

Tomazine yefferson. — In 1826. 

5- What was its name? 

Marty Van Buren. — The American Temperance 
Society. 

6. What was the hatchet used ? 

yohanna Adams. — Total abstinence from ardent 
spirits only. 

7. What did the choppers find to be the matter 
with this hatchet? 

yinny Keturah. — It had too short a handle. 

8. What hatchet was then tried? 

Wilhemina Harrison. — Total abstinence from all 
intoxicating liquors as a beverage, including wine, cider 
and malt liquors. 

9. When was this hatchet first tried? 

Miliarella Filhnore. — In 1823. 

10. When did the cold water armies begin to 
chop ? 

Zacherina Taylor. — In 1836. 


4 


YE HATCHET P ARTIE. 


* ii. What was the name of the next weli-known 
chopping organization ? 

All. — The Washingtonian Society. 

12. When and where was it started? 

yamesina Madison. — In 1840, in the city of Bal¬ 
timore. 

13. Who were the next choppers? 

Tomazine yefferson. — The Sons of Temperance. 

14. When did they first attack the tree? 

y. Qiiinciana. — In 1847. 

15. Who were next induced to become choppers? 

All. — The children. 

16. What were their chopping organizations 
called ? 

ye?nima Monroe. — Bands of Hope. 

17. When did they strike their first blows in 
America? 

yinny Keturah. — In 1833. 

18. Where? 

yohanna Adams. — In the City of New York. 

19. When did the women of the land begin to 
aid in the work? 

Marty Van Buren. — In 1873, under the inspira¬ 
tion of the Woman’s Temperance Crusade, of Ohio. 

20. How many choppers belong to their organi¬ 
zation? 

All. — About two hundred thousand. 

21. Who are the last workers who have taken up 
the hatchet of total abstinence? 

All. — The young women. 

22. How many of them are pledged to the work? 

All. — More than thirty thousand. 

23. Have they a chopping society in this city? 

All. — They have! They have! They have! 

24. What is it called? 

All. — The Young Women’s Christian Temper¬ 
ance Union. 

25. What is the song they sometimes sing? 


YE HATCHET PARTIE. 5 

[Hatchets rise and sing to air, “Balm of Gilead:”] 

There’s a great tree growing o’er us, 

Chop it down! chop it down! 

There’s a great tree growing o’er us, 

Chop it down! 

There’s a great tree growing o’er us, 

It is standing right before us, 

Chop it down! chop it down! 

Chop it down! down! down! 

Take a hatchet, hatchet — 

Take a hatchet, hatchet — 

Take a hatchet — 

And help us chop it down. 

[During these last three lines the hatchets are extended 
handlewise to the audience, and then turned to point to the let¬ 
ters Y. W. C. T. U., which should occupy a prominent place in 
the decorations. The following lines are then sung, complet¬ 
ing the song. 

Y.—W— C.—T.—U. 

Y.—W.—C.—T._ U. 

Y.—W.—C.—T.—U. 

We’ll chop the great tree down. 

[Chopping gestures during last line.] 

Georgiana .— Enough. Ye have shown, I think., 
that the chopping has been going on for many years. 
Of late, there has been much troublesome discussion 
concerning the so-called implements to be used in the 
work. Tomazine Jefferson Hatchet will now favor you 
with a song called “ The Hatchets of To-day,” setting 
forth our views in regard to the matter. 

[Tomazine sings. Air — “ The Poco’s Daughter.”] 

A hatchet leans with polished top 
Upon a bench within a shop, 

Announcing, “ Warranted to chop 
On shortest notice given.” 

And many people passing by, 

“Expediency!” in chorus cry, 


6 


YE HATCHET PARTIE. 


“ High License now, and by and by 
To right men will be driven.” 

[Chorus by Hatchets.J 

O men and maidens, keep your eye 
On that dull hatchet old and sly, 

Or you’ll be sorry, by and by, 

Approval you have given. 

Another hatchet, bright and keen, 

Near by the other one is seen; 

But, standing straight, it neither leans, 

Nor guarantees perfection. 

Yet many people firmly say 
That branches huge will fall, the day 
That Prohibition gets its way 
And gives to right — protection. 

[Chorus by all.] 

O men and maidens, keep your eye 
On that sharp hatchet young and spry, 

Or you’ll be sorry, by and by, 

It was not your selection. 

Georgicina .— Let us now in connection with this 
thought have “The Song of the Future,” when the 
chopping shall be done in the right way. 

[Song by all. Air — “Fra Diavolo.’’] 

The festal year has come, 

And brightly beams the morning: 

The sun peeps forth afresh, 

Our festal year adorning. 

Hurrah! hurrah! the festal year has come! 
Hurrah! hurrah! the festal year has come! 
Temp’rance, temp’rance, tra-la-la-la, 
.Temp’rance, temp’rance, tra-la-la-la, 
Temp’rance, temp’rance, tra-la-la-la, 

The festal year has come. 


YE HATCHET PARTIE. 


7 


We hear the chop, the chop, the chop, 

The choppity, choppity, chop. 

[Chopping heard without.] 

The Prohibition hatchet, 

The Prohibition hatchet, 

We hear the chop, the chop, the chop, 

The choppity, choppity, chop — 

The Prohibition Hatchet 
Coming down the stairs. 

[Enter little boy dressed in Continental costume, and carry¬ 
ing a huge wooden hatchet bearing the word “Prohibition” in big 
red letters. He waves the hatchet in time to the music. All 
sing. Air, “Japanese Young Man,” from “Patience.”] 

A jolly young chopper is he, 

A keen little chopper, you see. 

Prohibition forever 
Will certainly sever 
The trunk of the troublesome tree, 

The trunk of the troublesome tree, 

The trunk of the troublesome tree. 

Prohibition forever 
Will certainly sever 
The trunk of the troublesome tree. 

[The young Prohibition takes his stand by Georgiana.] 
Georgiana .— It always puts the Hatchet Family 
in a good humor to sing that song, and so I always - 
have them sing it before I ask for the next number of 
the program ; for there is one member of the family 
who is possessed of a most gloomy disposition; in fact, 
she is never known to smile. That Hatchet has lost 
her temper, and is, therefore, dull to all the joy and 
sympathy of life. Yes, Andrewsia Jackson Hatchet 
lost her temper on a memorable day just nine years 
ago — a day and event never to be forgotten. The 
story is a sad one, fraught with pain. \Hatchets weep.'] 
On that fatal day, Andrewsia, in exploring the archives 
of a distant country, found among them a story which 


YE HATCHET PARTIE. 


S 


st touched the edge of her mind that indignation hence¬ 
forth reigned. Weep again, sisters, over this sad fate. 
Her temper is entirely lost! The only comfort that 
she now finds in life — strange as it may seem to those 
who have not the heart of a Hatchet*—is in the read¬ 
ing of this same sad legend. Permit her, then, to 
indulge in this sorrowful pleasure. 

[Andrewsia reads.] 

THE LEGEND OF ZEE. 

Once on a time in the land of Zee, 

There reigned a queen of benignant will, 

Who gazed askance at a terrible tree 
Which grew and budded and grew — until 
It shadowed the country of golden Zee. 

And thousands perished beneath the shade ♦ 

Of the poisonous leaves of attractive hue, 

And a thousand homes in the dust were laid, 

But the great tree budded and grew and grew; 

No growth of its branches stopped or stayed. 

But the ruler of Zee awoke at last 
To the danger threat’ning the happy land, 

And messengers rode through the country vast, 
Summoning all at the queen’s command; 

“ A need for choppers ”— the word ran fast. 

They came from the eastern shores of rest, 

They journeyed down from the frigid north, 

They left the g’eams of the golden west, 

From the warm south-land they ventured forth, 
Obeying their ruler’s strange behest, 

Till they stood at last by the palace side, 

And gazed at the great old tree of gray, 

And felt the gloom of the shadows wide 
Which barred the sunshine of gladsome day; 
Then, one by one, they turned away. 


YE HATCHET PARTIE. 


9 


And some of them said, “ What help are we 

In a work that can never be carried through? 

We do not water the wretched tree, 

- Or help its growing — what more to do? 

Our queen is foolish — she does not see.” 

And others declared, “We can but shrink 

From a step like this that affects one so; 

We really must have some time to think, 

But, if we decide, we will let you know.” 

They vanished — letting the green tree grow. 

And some found fault with the hatchets used, 

And declined to chop till they all agreed; 

And others all chopping in scorn refused. 

So the shadows grew darker beneath the tree, 

Till there vanished forever all light in Zee. 

Georgiana .— Do you wonder anv longer at the 
sadness of our sister? Yet there is one great consola¬ 
tion, for the story is but a legend of a distant region. 
In the annals of these enlightened times there are 
names of scores of brave choppers, who, no matter 
what hatchet is being used by the community in which 
they dwell, do not hesitate to grasp the hatchet of Total 
Abstinence and go to work with all zeal. Tell us, now, 
of some of these brave choppers. 

[Cries of “Gough,” “Cuyler,” “Dodge, v “Willard, 
“Rush,” etc.] 

In your zeal you are confusing. Can you not tell 
me in more orderly fashion; or, better still, let us have 
Marty Van Buren’s favorite song. 

[Air—“Here We Meet as Temperance Children.”] 

Now we’ll sing of Total Abstainers, 

Now we’ll sing of Total Abstainers, 

Now we’ll sing of Total Abstainers, 

Father Mathew heads the list. 


IO 


YE HATCHET PARTIE. 


Chorus: —Bain and Cuyler, Fisk and Farrar, 

Dow and Jewett, Rush and Reynolds, 
Murphy, Gough and Frances Willard, 
She’s the last but not the least. 

If you like our Total Abstainers, 

If you like our Total Abstainers, 

If you like our Total Abstainers, 

Let us add your name to these. 

Chorus: —Bain and Cuyler, Fisk and Farrar, 

Dow and Jewett, Rush and Reynolds, 
Murphy, Gough and Frances Willard, 

Still there’s room enough for more. 

[Air — “Glasses Upside Down.”] 

At home, abroad, by night or day, 

In country or in town, 

If asked to chop, don’t smile and turn 
Your hatchet upside down. 

Chorus: — Don't turn your hatchet upside down, 

Don’t turn your hatchet upside down, 

If asked to chop, don’t smile and turn 
Your hatchet upside down. 

Georgiana .— But now, after all has been said and 
sung, lest any of you may still think that the ranks are 
full, and that there is not a chance to become a chopper 
in this very vicinity, we will now assure you of the con¬ 
trary in our “ Song of the Y: ” 

[Air — “There is a Tavern in This Town.”] 

There are some choppers in this town 
Who very often sit them down 
To plan and scheme, and think and plot 
How best to manage and to chop. 

Chorus:— 

Fare you well, for we must leave you. 

Do not let the parting grieve you, 


















12 


YE HATCHET PARTIE. 


But remember that the best of friends must part. 
Adieu, adieu, kind friends, adieu, adieu, adieu, 

We can no longer stay with you; 

We’ve told you here of this great Intemperance tree, 
And now we leave the rest with thee. 

These choppers now have need of you 

To help them see this chopping through; 

So don’t, we pray, this urgent want deny, 

But with their need at once comply. 

[Chorus, during which the Hatchets march out, each cour- 
tesying at door of exit.] 

[If the Hatchet Party is given as a “social,” 
appropriate invitations can be issued in the form of a 
hatchet, as follows. 

The decorations should conform to the spirit of 
the evening. A large hatchet, covered with white 
curled tissue paper, may be hung in the hall. Placques 
of little red, white and blue hatchets may take the place 
of flowers, and in the hall or reception room there 
should be a table of “Souvenirs.” These should be 
little bronzed hatchets with the letters Y. W. C. T. U. 
on one side. Their handles should be tied with narrow 
ribbon — red, white and blue—and each guest should 
be allowed to select his co’or. Thus everybody has 
the opportunity offered to him of becoming a member 
by selecting the white ribbon, and in this way every¬ 
body is compelled to “show his colors.” 

If simple refreshments are served, let the Japanese 
napkins have a big hatchet gilded on them, and let 
there be some plates of hatchet cookies, formed by the 
cutter that any tinsmith will make from a pattern.] 


^ips from tl?<? <s>l?oppi?rs. 


Through the wisdom of our Y’s and the kindness of 
correspondents of the Oak and Ivy Leaf we are enabled 
to add to the original “Partie” several suggestions 
from Y Unions that have used the exercise. 

(i) The “ Familie ” was enlarged by the intro¬ 
duction of Abrahamisia Lincoln Hatchet, who was the 
pianist. Ruthie B. Hayes, also an additional member 
of the “ Familie,” gave a brief genealogy of our proud 
ancestral tree in the following verses: 

When lived the lad, George Washington, 
Brimful of glee and boyish fun, 

What instrument his great fame won? 

Just a little hatchet! 

When Jack, the Giant Killer bold, 

The beanstalk climbed in days of old, 

What killed the giant—won his gold? 

A hitchety, hatchety hatchet! 

When we attack this mighty tree, 

That spreads its shade o’er you and me, 

What shall the deadly weapon be? 

A Prohibition hatchet! 

“ The best laid plans of mice and men 
Gang aft aglee.” Alas! what then? 

Why—lay another plan again, 

Then go to work and hatch-et. 

The “ Song of the Choppers ” was given by two 
little girls representing Ruthie B. Hayes and Francesca 
Cleveland. The first two lines were changed to, 

Oh! jolly young choppers are we, 

Keen little choppers, you see, 

and this stanza was added, 



H 


YE HATCHET PARTIE. 


What kind of choppers are you? 

Are you choppers courageous and true? 

Do you know it’s your mission 
To vote Prohibition? 

Is that what you’re going to do? 

Is that what you’re going to do? 

Is that what you’re going to do? 

Do you know it’s your mission 
To vote Prohibition? 

Is that what you’re going to do? 

Francesca Cleveland then recited the selection 
“ Ground Out by a Crank,” after which “ Hatchets 
Upside Down ” was sung, with this additional stanza, 

And now that we have come to you, 

Don’t greet us with a frown, 

Don’t crush our hopes at a single blow, 

With hatchets upside down. 


(2) GROUND OUT BY A CRANK. 

I’d rather be dumb 
And always mum 
Than pray like some, 

“ Thy kingdom come,” 

Then vote for rum. 

I’d rather be blind 
And often maligned, 

And speak my mind, 

Than be behind 
An age of this kind. 

I’d rather be frank 
And called a “ crank,” 

Not known at the bank, 

Than stand on a plank 
Both rotten and rank. 



CHIPS FROM THE CHOPPERS. 


5 


The cranks of to-day 
Have come to stay, 

To vote and pray, 

In the self-same way, 
Till they turn the day. 

The crank is bold, 

Like Daniel of old; 
When put into hold, 
The lions, we’re told, 
Were badly sold. 

No wonder, I own, 

He was left alone, 
Composed, as is known, 
Like cranks full grown, 
Of grit and backbone. 


(3) The program was in two parts, the first con¬ 
sisting of music and recitations, one of the novel features 
being a speech on “ Cranks ” coming through a chain 
pump. Nine “ Hatchets ” were added in the following 
order: Francena Pierce Hatchet, Jemima Buchanan 
Hatchet, Abrahama Lincoln Hatchet, Andrusia John¬ 
son Hatchet, Ursula S. Grant Hatchet, Ruthby Hayes 
Hatchet, Jamesetta Garfield Hatchet, Chetty Arthur 
Hatchet, Groverella Cleveland Hatchet. 


(4) The Y’s have preceded their “ Partie ” with 
a debate upon the question: Resolved, That Constitu¬ 
tional Prohibition is the most effective method of sup¬ 
pressing the evil of intemperance. 

(5) The “Grand Hatchet Drill,” was superin¬ 
tended by the captain of the military company. That the 
drill might be more attractive, the young ladies wore 
costumes alike—black dresses, made in ancient style, 
and white caps and neckerchiefs—with the exception of 





1 6 


YE HATCHET PARTIE. 


Georglana, who was dressed in white. The souvenirs 
were small wooden hatchets prettily painted with sprays 
of flowers and cherries. A card, attached to the hatchet 
by means of a bow of white ribbon, had choice temper¬ 
ance sentiments written on one side. 


(6) A special feature of the souvenir hatchets was 
the quotations painted on them, whose author had to be 
guessed before a purchase could be effected. 


(7) A “ ROUND ” FOR AN ENCORE. 

Air—“ Scotland’s Burning.” 
Whiskey’s going! Whiskey’s going! 

Chop on! Chop on! 

Everybody, everybody, 

Come and join our chopping party! 


(8) ANOTHER ENCORE. 

Air—“ We won’t go home till morning.” 
We’ll always remember each other, 
We’ll always remember each other, 
We’ll always remember each other, 

Y. W. C. T. U. 

Chorus:— Y. W. C. T. U., 

Y. W. C. T. U., 

We’ll always remember each other, 
Y. W. C. T.U. 

We’ll loyally wear the white ribbon, 
We’ll loyally wear the white ribbon, 
We’ll loyally wear the white ribbon, 
Y. W. C. T. U. 

Chorus:— Y. W. C. T. U., 

Y. W. C. T. U., 

We’ll loyally wear the white ribbon, 
Y. W. C. T. U. 





CHIPS FROM THE CHOPPERS. I J 

We mean to secure Prohibition, 

We mean to secure Prohibition, 

We mean to secure Prohibition, 

Y. W. C. T. U. 

Chorus:—Y. W. C. T. U., 

Y. W. C. T.U., 

We mean to secure Prohibition, 

Y. W. C. T. U. 

And we’ll never give up till we conquer, 

We’ll never give up till we conquer, 

We’ll never give up till we conquer, 

Y. W. C. T. U. 

Chorus: —Y. W. C. T. U., 

Y. W. C. T. U., 

We’ll never give up till we conquer, 

Y. W. C. T. U. 

[If a longer program is desired, use the following, from the 
“Young Crusader,” as a “chalk talk.”] 

THE ENCHANTED TREE. 

In a country a hundred miles south of the south 
pole, and about the same distance west of the 
equator, there grew a great many beautiful flowers, 
vines and shrubs; and besides these, the country was 
noted for its stately trees, sheltering myriads of sweet 
songsters. Some of these t ees bore delicious fruit; 
others made such a cool, pleasant shade in the heat of 
summer that weary travelers stopped to rest beneath 
their branches, and went on their way greatly refreshed. 
Some were evergreens, and remained beautiful all win¬ 
ter, among the snowy hills and icy plains. 

But there was one remarkable tree in the land,, 
quite different from all the others. Now the people 
of this country would have been very happy had it not 
been for this tree. It was the cause of a great deal of 
trouble and suffering. Far above the tops of the others. 


































THE ENCHANTED TREE. 


l 9 


above the highest church steeples — some said even 
to the clouds — rose this monster tree, and the 
branches grew so thick and spread so far that it cast a 
dense shade over all the land. Indeed, some of the 
families living beneath it could hardly see the sun¬ 
shine. 

But, worse than this, the tree was enchanted. Its 
hollow trunk was the home of a wicked and powerful 
giant. I will not tell you his name, but see if you are 
bright enough to guess it when the story is finished. 

The only way to conquer this enemy was to 
destroy or cut down this tree. But no one had yet 
been able to do this. It was clear, however, that some¬ 
thing must be done, for this is what happened again 
and again: Unless provided with a certain magic talis¬ 
man, all who ventured very near the giant’s home fell 
into his power and became his slaves. This, you must 
understand, was terrible, for their cruel master always 
loaded them with heavy chains which they could never 
shake off, and sent them out into the world to work for 
him. Ah, such cruel, wicked work as they were com¬ 
pelled to do! Destroying property, taking lives, and 
bringing misery to their dear ones and themselves. 
Such was the fate of many unfortunate captives. 

Many people were so foolish that they refused 
to wear these talismans, though they were furnished 
freely by a good fairy to all who would take them. 
But these reckless ones said, “ What is the use? We 
are safe enough without them. We can take care of 
ourselves. It is a great pity if we cannot keep out of 
the giant’s clutches without the aid of a fairy’s gift.” 
And it was a pity; but in spite of their boasting, many 
who would not accept the magic charm bore, sooner or 
later, the chains of the giant. 

There was one reason why some valued the tree, 
in spite of its evil power, and did not wish it destroyed. 
Every year, when the autumn winds swept through 
the huge branches, there would fall a shower of nuts. 


20 


YE HATCHET PARTIE. 


These nuts were very unlike others, for they were of 
solid gold. Of course they brought a high price, and 
the money, used in various ways, seemed to make the 
country richer. Mind, I say only seemed , for really 
the people were growing poorer every year. How 
could it be otherwise when the giant would rob his 
victims of all that they had, till they were so poor that 
they were unable to provide for themselves or their 
families? 

At last the king of this country called a council of 
his wisest men, to decide what could be done to get rid 
of the cruel monster who caused such trouble. When 
the council had gathered in the palace, the king said: 

“I have been trying all my life to make my sub¬ 
jects happy: I have caused churches and school-houses 
to be built in great numbers, that my people might be 
well educated and taught to choose good lives rather 
than evil ones. I have bestowed gifts of food and 
money upon the poor, that their sufferings might be 
relieved. I have done, in short, all that lay in my 
power to make my country a happy and prosperous 
one, but I find that this wicked giant thwarts all my 
plans. I must now call upon my true and faithful sub¬ 
jects to aid me in the overthrow of this enemy. Who 
can suggest a way to conquer him?” 

“ I can, your majesty,” said one of the learned 
men, confidently. “We ail understand that the only 
way to prevent the ruin of our country is to check the 
further growth of the dangerous tree. It would not 
be wise to cut it down altogether, even were it pos¬ 
sible, for then we should lose the annual crop of golden 
nuts; but let every man provide himself with a hatchet, 
and proceed to cut away all the decayed branches 
within reach. This will so cripple and injure the tree 
that much of its power for evil will be gone.” 

“ It shall be tried,” declared the king, and as his 
word was law, every man armed himself with a 
hatchet, and fell to work. 


THE ENCHANTED TREE. 


21 


Now, these hatchets, although the best to be found, 
were not strong and sharp enough for the tough wood. 
Many of them became very dull, and much time was 
lost in sharpening them. Still, in spite of this difficulty, 
the workers managed to cut away a large number of 
the decayed limbs. Then they paused and pointed 
with pride to their work, saying, “ See how we have 
crippled the tree!” 

But the giant, overhearing them, only said, with a 
grim chuckle, “We shall see.” 

In a short time the poor people who had been so 
proud of their work were astonished and dismayed to 
find the tree branching out more thickly than before. 
Instead of the decayed blanches that had been cut away 
there grew out strong, sound ones which did much 
more harm, as they soon grew to reach farther, and 
the giant captured more slaves than ever before among 
the young people of the land. His power increased 
with the growth of the tree. 

The people were disgusted with Dr. Highlie’s 
plan, finding that it worked so badly. The king also 
was displeased, and called another council. Plan after 
plan was proposed for weakening the giant’s power 
without losing the golden nuts. None seemed effect¬ 
ual. At last it was thought best to let the golden nuts 
go and try to cut down the tree itself. “ For of what 
use are the golden nuts,” argued a thoughtful, white- 
haired man, “while our country is becoming poorer and 
more wretched every year, through the giant’s wicked 
enchantments? ” 

And the people, grown wiser, concluded to cut 
down the tree. Arming themselves this time with 
strong axes, instead of flimsy hatchets, they set to work. 
Blow after blow fell upon the heavy bark of the tree 
trunk, until the giant" trembled with fear. 

“ The tree will soon be down!” shouted a young 
man, joyfully. But alas! not yet. When the crafty 
giant found that this time he was in real danger, he at 


22 


YE HATCHET PARTIE. 


once set about protecting himself. The workers all 
wore the fairy talisman, therefore he could not touch 
them; but he could hinder their work, and, watching 
his chance, he stole their axes while they were eating 
their lunch. 

This was a serious hindrance, for the axes had been 
procured with some difficulty, as the factory which 
produced them, belonging to the firm of “Local Broth¬ 
ers,” was closed much of the time. Hence there was 
great delay in getting new tools; and meanwhile the 
giant made haste to thicken and strengthen the bark of 
the tree by every device in his power. 

At last came the fresh supply of axes, and the men 
went bravely to work again, determined to take better 
care of their tools in future. So thick and tough was 
the bark that it was only on certain parts of the trunk 
that they could make any impression. They hoped to 
succeed in time, but found it slow work at the best. 

One morning, while hacking away at the weak 
spots, the workers were interrupted by a messenger 
from the king, who came to say that they were to 
appear immediately at the palace. On arriving, they 
found a crowd of people gathered around a young man 
who held in his hand a small round box, scarcely larger 
than a common saucer. The wondering laborers tried 
to push their way through the crowd that was increas¬ 
ing every moment. 

Presently the king appeared. Then there was 
order and silence at once; for this monarch won the 
respect and love of his people, not by reason of his high 
station, but by his goodness. 

The king began to speak. “ Listen, my people,” 
said he. “This youth has in his possession a magical 
instrument, a gift from the good fairy whom you all 
know so well. It appears small and insignificant, but 
when properly arranged, will, we think, exert a mar¬ 
velous power. It is to be used in destroying the giant’s 
tree.” 


THE ENCHANTED TREE. 


2 3 


Then the king commanded the young man to open 
the box. When the lid was removed, there lay exposed 
to view a curious little instrument, shaped much like a 
horse-shoe, and made of a wonderful metal, as you will 
soon see. The inner edge of this horse-shoe was 
formed into sharp teeth, like a saw. 

At sight of this tiny instrument, the people 
could not suppress their amazement. “ What! ” they 
exclaimed, “does the king imagine that the enormous 
tree can be cut down with a mere toy like this?” 

“Wait a moment,” spoke up the young man. 
“Let me show you its magical powers. True, it is 
very small, but suppose some of you take hold of it 
with me, and let us see if we cannot «tretch it.” 

At these words, two or three men went doubt¬ 
fully forward, and taking hold very cautiously with 
thumb and linger gave a slight pull all together. To 
their surprise they found that the metal stretched sev¬ 
eral inches. Then, taking hold more firmly, they 
pulled with all their might. The fairy horse-shoe 
expanded till it was three times as large as at first. 

Others then took hold, and both men and women 
helped to stretch the wonderful instrument, till at last 
they saw, to their delight, that it was large enough to 
encircle the enchanted tree. It was then taken to the 
tree and placed around it, when two more remarkable 
things happened. First, the ends immediately joined 
themselves together, thus making a complete circle 
around the tree. Second, as soon as the magic saw 
was in position, there sprang into sight hundreds, yes, 
thousands, of little handles shaped like cranks. This 
was more of the good fairy’s work. 

Now came the time for the people to do their 
part. A few men stepped forward and each grasping 
a handle began to turn the cranks. They were laughed 
at by some who still believed in using hatchets or axes 
as the only tools suitable for the purpose. 

But the giant did not laugh. As soon as he saw 


2 4 


YE HATCHET PARTIE. 


the magic instrument, he knew it was the inven¬ 
tion of the fairy, and that he was doomed to certain 
defeat. 

When the cranks were turned, the magic saw 
began to move, very slowly at first, and then more rap¬ 
idly as more workers were added; for as soon as the 
people saw that turning the cranks caused the saw to 
move, they began to believe this the true way to accom¬ 
plish their purpose, and many hands grasped the cranks, 
till there were a great number in motion. More and 
more joined the cheerful band of workers; faster and 
faster flew the fairy saw, and by its contracting power, 
deeper and deeper did it cut into the bark of the tree; 
and still there was no crowding. New cranks kept 
appearing as fast as new hands were ready to turn 
them, so that every one could work who was willing 
to do so. Men began to leave their pet hatchets and 
axes to lend a hand at this more hopeful plan. 

The giant groaned in despair. Nothing was left 
for him to do except to throw sticks, stones and great 
handfuls of mud at the workers. This he did with a 
vengeance. But the good fairy mounted guard, and 
whenever a stick or a stone was thrown by the giant, 
or by one of his slaves, the fairy turned it aside with 
her magic wand. Sometimes a handful of mud struck 
its mark in spite of the fairy’s wand, but did no harm, 
as it fell quickly to the ground, leaving not even a 
stain, and the people worked on more bravely than 
ever. 

For some time the women were not allowed to 
join in this labor, although they had helped to stretch 
the fairy horse-shoe. This work was not thought 
suitable for them. But after a time the men began to 
see how foolish they were to refuse any help that could 
hasten their success, and cried out with one accord: 
“Come, sisters, we will all work together for the pro¬ 
tection of our homes against the terrible foe.” 

Gladly they were joined by the host of mothers 


THE ENCHANTED TREE. 


2 5 


sisters, wives and daughters, and now the magic saw 
fairly flew in its narrowing circle towards the heart of 
the tree. And soon afterward — hark! what was that 
crackling, groaning sound? 

The tree was coming dozen at last! “Stand 
from under!” called a chorus of warning voices. Then 
a loud “ Hurrah! we are free!” And voices for miles 
around—invalids, little children, and others who could 
not help in the grand work — caught up the chorus in 
another moment, and shouted with one accord, “We 
are free!” For with a great swaying, rustling and 
crashing, down, down, fell the monster tree, striking 
the earth with a sound like a peal of thunder. 

The terrified giant made his escape as best he 
could. Pursued by the arrows aimed at him by the 
triumphant people, he fled for his life, and was never 
seen in that country again. 

What rejoicing there was then! Do you suppose 
the king or his people mourned the loss of the golden 
nuts? No, indeed! They were too happy in their 
release from the oppression of the giant, and were cer¬ 
tain of a prosperous future for their country. The 
king gave a great feast to rich and poor, that lasted 
seven days. As for the wretched victims of the giant’s 
cruelty, their chains fell off at one wave of the fairy’s 
wand, and they returned to their homes, where, accord¬ 
ing to the old traditions, they lived happily ever after. 

Who of you will drop the old hatchet and take a 
turn at one of those cranks? If everybody who wants 
to save our country will take hold, it will not be long 
before our enchanted tree is down and our giant van¬ 
quished. 


[In consideration of the fact that the Y’s are eager to do their 
part in the building of the Temperance Temple, the following 
sketch has been prepared, in the hope chat by its means some 
bricks may be added to that noble structure. 

In preparing for such an entertainment, each union must de¬ 
cide for itself whether invitations or tickets shall be used for the 
social. The former method may seem to some the better one, 
and in that case the wording of the invitation should be as follows: 



SILHOUETTE OF THE TEMPERANCE TEMPLE. 

Siffiouette Social 

'tip dUt 



A SILHOUETTE SOCIAL. 


2 7 


This will suggest a collection, during the evening. But, 
whatever be the form, each card should bear a little silhouette of 
the Temple. The committee on invitations can make these from 
the model given above, or they may be obtained, with or without 
the printed form, at $1.25 per hundred, from the W. T P»A., 161 
La Salle Street, Chicago. 

The place of holding the social having been decided, there 
falls to the lot of the committee of arrangements the important 
duty of stretching a sheet, or large piece of muslin, across one 
end of the room—or back of folding doors—so that two or three 
shadow pantomimes may be given. Unless the sheet is arranged 
back of doors which can be opened and shut a curtain is neces¬ 
sary. This should pull easily, or fall, as occasion requires. A 
large lamp should be placed on a table, back of the sheet, at such 
a distance that the shadows of those standing close to the sheet on 
the inner side are sharply defined and of correct proportion, as 
seen by those on the outer side of the sheet. 

Some chairs must be arranged on the outside, near the curtain, 
for the Sdhouette Singers. The Y’s composing this chorus should 
wear black dresses, with white kerchiefs tied in front with a bow 
of white ribbon, having very long loops and ends. A little cap 
of white with the letters Y. W. C. T. U. on it in black, may be 
worn if desired. When the chorus is seated, the leader announces 
the first number of the program.] 

A SHADOW SONG. 

Air—“ A Roving.” 

We welcome you, our many friends, 

Mark*well what we do say, 

We welcome you, our many friends, 

And show to each one who attends, 

A fleeting group of silhouettes and shadows gray. 


Chorus:— 

Of shadows, of shadows, of shadows vanish-ing-i-ing; 
A fleeting group of silhouettes and shadows gray. 

But lest you think our work is naught 
But shadows, we would say 
It has a substance of its own, 

A hint of which will now be shown 

In fleeting group of silhouettes and shadows gray. 

Chorus: —(Repeat softly.) 


28 


A SILHOUETTE SOCIAL. 


[At the close of the song the lights are lowered and the 
leader announces] 

A WHITE RIBBON BALLAD. 

[One of the Chorus arises and recites.] 

In a city that is nameless, 

Once there dwelt a certain dame 

Gifted with a gracious manner, 

And possessed of social fame. 

Everybody claimed her presence 
At the dinner, lunch or tea, 

Where’er fashion beckoned blithely, 

Mrs. Brown was sure to be. 

Always gay and bright and smiling, 

No one ever dreamed that she 

Haunted was in many moments 
By a longing none did see. 

Yes—she had a certain failing, 

To one thought her heart did cling; 

Briefly, then,—she wore her life out 
Striving for the “ latest thing.” 

Was it mode of dress or manner, 

Was it way of word or speech, 

Was it fancy work or china, 

Always she the style must reach. 

[At this point in the reading the signal is given for the cur¬ 
tain to rise, and the shadow of Mrs. Brown in profile is seen. She 
is seated before a table on which are piles of books and maga¬ 
zines, a tall vase or two, a basket of fancy work, etc. A china 
pug dog stands by her side.] 

Hours and hours she spent perusing 
Book of art, or fashion’s page, 

Welcoming each new idea 

Labeled as the “ greatest rage.” 


A SILHOUETTE SOCIAL. 


2 9 


[During the reading of this verse Mrs. Brown is engaged in 
searching eagerly for something in one of the books. She shakes 
her head sadly, as if unable to find it, and lays the book aside for 
another, in which she seems to discover what she desires. She 
clasps her hands ecstatically as the curtain falls. After a few 
minutes, during which the table is transformed into a dressing- 
bureau, by throwing a shawl over it and adding a box to look 
like a cushion, etc., and an old box lid placed on end to resemble a 
mirror, the curtain rises and the reader continues.] 

So it was a cause for wonder 

When one morning, quite surprised, 

Standing there before her mirror. 

Mrs. Brown soliloquized. 

K I would like to know the meaning 
Of the little knot of white 

That I’ve seen so many wearing, 

Quite as if the thing—yes—quite— 

“ I’d have seen it stated somewhere, 

If it were the thing to do. 

Well, it surely is the fashion, 

So I must adopt it too. 

(Mrs. Brown, after a little hesitation, pins on a bow of ribbon, 
and looks in the mirror with a self-satisfied air.] 

“ There! why—it is quite becoming, 

How it freshens up my gown! 

Is the carriage ready, Ellen? 

Very well, I’m coming down.” 

[At the third line of this verse the shadow of a maid appears. 
She helps Mrs. Brown with her wraps, gives her a muff, and ap¬ 
parently opens a door for her to pass out; then the curtain falls.] 

So unto a lengthy luncheon 
Mrs. Brown thus sped away, 

And throughout the whole occasion 
Was the gayest of the gay. 


3 ° 


A SILHOUETTE SOCIAL. 


[The curtain rises, showing Mrs. Brown seated at a small lunch 
table, with another lady opposite her and one just beyond. They 
talk and laugh in pantomime. A waiter stands at the side of 
Mrs. Brown.] 

Once she thought she saw the waiter 
Studying her with puzzled air, 

But ’twas only for a moment, 

He was too well bred to stare. 

He, however, hesitated 

As he filled her glass with wine, 

For he knew the ribbon’s meaning 
And expected fitting sign. 

As none came, he filled it slowly, 

Sadly, as if in a dream— 

Puzzling o’er the ancient problem 
Why things are not what they seem. 

[The waiter's movements are in accordance with the above 
words, and the curtain falls upon Mrs. Brown holding up her 
glass as if admiring the color of the wine. When the curtain 
rises again, Mrs. Brown is seated in her own room. There enters 
another lady whom she greets most cordially, insisting that she 
shall lay aside her wraps and be seated in an easy chair.] 

“ Well, my dear, you are a stranger,” 

Said our heroine one day, 

As she greeted with effusion, 

Her acqaintance, Mrs. Grey. 

“ Tell me all the latest items! 

Wait—though—something I must know; 

Is there any latent reason 

One should wear this little bow? 

“ I acknowledge that it’s pretty, 

Really quite a dainty touch 

To a costume—yes ,you wear it— 

But why is it worn so much?” 


A SILHOUETTE SOCIAL. 


3 1 


“Reason?” Mrs. Grey but echoed, 

—There was so much to allege,— 

“ Don’t you know it stands for Temperance ? 
’Tis the token of our pledge!” 

Then for once in her existence 

Mrs. Brown was speechless quite, 

Gazing with an earnest aspect 
At the knot of ribbon white. 

[She takes ribbon from her dressing-table and looks at it 
earnestly.] 

Mrs. Grey explained and argued, 

Urged the need so vast and grave, 

Finally with much decision, 

Mrs. Brown her verdict gave. 

[Mrs. Brown throws down the ribbon and listens while Mrs* 
Grey, drawing her chair nearer, explains and persuades. At last 
Mrs. Brown takes up the ribbon and fastens it on with a gesture 
of determination.] 

“ I will stand then by my colors, 

Though ’twill often be a fight; 

O ,ce I wore the knot for fashion, 

Now—I’ll wear it for the right /” 

TNote— The above ballad is founded on fact, being an inci¬ 
dent heard by a friend and told to me. I owe it to the onginaf 
Mrs. Brown, of whose true name I am ignorant, to state that she 
was not thus given over to fashion, but was simply, uninfornaed 
as to the meaning of the white ribbon, and adopted it at first be¬ 
cause she thought it pretty.] 


Reading .— 

THE MISSION OF THE WHITE RIBBON. 

The pale, white face of Faith Moreland rested 
among the pillows of her hammock-chair. Her slen¬ 
der form was wrapped in a light blue worsted 
from among whose folds floated the little white ribbon 
which Faith always wore, an emblem of her devotion 
to the temperance cause. 



3 2 


A SILHOUETTE SOCIAL. 


Her Eastern home and circle spoke of her as their 
“ bright light,” and sighed to note the slowly wasting 
form and hectic flush. The doctor ordered a change of 
climate, and she had journeyed with her mother to Col¬ 
orado. In the mining district they sought health, and 
each day the rough miners saw her resting there, upon 
the stoop, and as they became acquainted with her, they, 
too, gave her the name of their “sunlight,” she was so 
cheerful and happy, even in her sufferings. 

On the morning of which we speak, Faith was 
watching four of these young men going to their work, 
—full of strength, hope and ambition; they seemed so 
strong, she so weak. 

“Do you think, mother, I could do anything to 
show my thanks to these young men for all their kind¬ 
ness to me? They seldom go past without leaving me 
some flower or specimen of rare stone to interest and 
divert me. What surprises me is to find them so well 
educated. At first glance you would call them rough, 
hard men, but theirs is a true refinement; they are not 
uncultivated, and I wish I was able to do something 
that would be of service to them after I am gone.” 
She took up the white ribbon tenderly, and said no 
more, but her heart was stirred with a grand, noble 
purpose,—a wish, a desire, a determination, to help these 
new-found friends. 

On to their work passed the four young miners. 
Soon they joined the other five that comprised the 
company who twice a day exchanged greetings with 
Faith and her mother. As they came up, Wellman was 
saying: 

“My curiosity is getting the best of me; I know 
that white ribbon has a meaning. It is no trivial, 
school-girl fancy of hers to wear it day after day. I’ll 
give my day’s earnings to the fellow who has the cour¬ 
age to ask her outright what it stands for.” 

“ So will I,” spoke up another. 

“ Reckon my wages in also,” said a third. 


A SILHOUETTE SOCIAL. 


33 


“ I don’t want your money, boys, but I’ll ask her 
this very night if you will come with me.” So it was 
agreed that Marcus Grovner should speak for them. 

So intent was Faith upon her temperance work 
that she spent the day planning how she could induce 
them to sign the pledge. 

“ How can I ask them? I have never seen them rude 
or intemperate in anyway. I may offend them, but, 
oh! I so long to have their solemn promise to become 
temperance workers. They could do so much good in 
this wild country by their example and their lives. I 
will have my box of white ribbon close beside me in 
case the way opens.” 

At sundown the way did open. Marcus Grovner 
stopped before her on his way from the mine (the 
others were close by), and said without delay, 

“ Miss Moreland, will you tell us why you always 
wear that white ribbon tied in your dress? We all 
want to know, because we are sure it has a meaning.” 

Oh! how the light came in the poor girl’s eyes. 
She scanned the faces of those nine young men, and 
sent up a silent prayer that she might make the most 
of this long-wished for and golden opportunity. 

“ It has a deep, grand meaning—one that we hope 
will bring sunlight into many homes now dark and 
drear. It means freedom from intemperance; nobler 
women, nobler men. It is a little emblem, but it stands 
for much. Through the working of this band we 
hope to elevate the moral tone of society for the com- 
ing generation. I have longed to talk with you about 
this, and to ask you, for the sake of the homes you 
love, and those you will some day make for yourselves, 
to sign the pledge, to keep the pledge for your man¬ 
hood’s sake, and to wear the white ribbon in remem¬ 
brance of me,” 

The miners exchanged glances, and of one accord 
drew around the sick girl. 

“We are ready, aye, anxious to do this. Your 


34 


A SILHOUETTE SOCIAL. 


gentleness and kindness remind us of our far-away 
laved ones,—mothers and sisters—whom we have left 
to seek our fortunes in this mining country. We have 
known what it is to live among refined, educated peo¬ 
ple. You came just in time to save us from the rough¬ 
ness and recklessness that belong to a miner’s life. We 
were growing careless of speech and example. Your 
presence has brought us to our senses, and we are ready 
to pledge ourselves to manliness, temperance and a life 
of integrity. We came here from homes of refinement, 
our return to them shall cause no blush of shame.” 

One by one, in a scholarly hand, they signed 
the pledge which Faith wrote tremblingly,—partly 
from weakness, but more from joy. Feeling instinct¬ 
ively that they would be pleased, she tied the white 
ribbon in the buttonhole of their rough garments. 
What mattered it if the ribbon grew dingy, the pur¬ 
pose had entered their hearts, and they had manhood 
enough to push it. What wonder that Faith’s face was 
flushed and radiant, as holding in her hand the day’s 
wages of these four men, to be used in furthering the 
temperance cause, she murmured. 

“ God ble-s the white ribbon.” 


Recitation .— 

OUR BADGE. 

It is only a knot of ribbon white, 

As white and as pure as the snow; 

It shines and gleams like a beacon light 
In the world’s dark valley of woe. 

It is worn o’er many a loyal heart, 

O’er hearts that are good and true, 

To help the sinning away from the dark, 
And give them a life anew. 

All over the earth, from south to north, 
From the east to the golden west, 



A SILHOUETTE SOCIAL. 


35 


It whispers of woman’s sterling worth 
As it trembles upon her breast. 

It tells of a purpose staunch and firm, 

Of a purpose holy and pure; 

It tells of a victory that shall come 
If the strong hearts still endure. 

It is only a bow of ribbon white, 

But it shines in every land; 

It shines as an emblem of the right 
In the woman’s Christian band. 

On the rich and poor, on the young and old, 
This badge of love we see, 

And its snowy sheen is the key of gold 
That shall unlock liberty. 

It silently speaks of the sweetest praise 
That ever a poet sung: 

It is ushering in the better days, 

And the victory sure to come. 


Song .— 

Y. W. C. T. U. 

Air:—“ It’s a way we have at old Harvard.” 

We’ll always remember each other, 
We’ll always remember each other, 
We’ll always remember each other, 
Y. W. C. T. U. 


Cho.— Y. W. C. T. U. 

Y. W. C. T. U. 

We’ll always remember each other, 

Y. W. C. T. U. 



3 6 


A SILHOUETTE SOCIAL. 


We’ll loyally wear the white ribbon, 
s We’ll loyally wear the white ribbon, 

We’ll loyally wear the white ribbon, 

Y. W. C. T. U. 

Cho.— Y. W. C. T. U., etc. 

We’ll loyally wear the white ribbon, etc. 

We mean to secure prohibition, 

We mean to secure prohibition, 

We mean to secure prohibition, 

Y. W. C. T. U. 

Cho.—Y. W. C. T. U., etc. 

We’ll never give up till we conquer, 

We’ll never give up till we conquer, 

We’ll never give up till we conquer, 

Y. W. C. T. U. 

Cho —Y. W. C. T. U., etc. 

[This song should be sung in a very spirited manner, and 
with a ring that will inspire the audience with enthusiasm for the 
Y. W. C. T. U.] 


Shadow Pantomime — 

A TEMPERANCE MAID. 

Air:—“The Annex Maid.” 

[The curtain rises, showing a maiden in out-door costume 
walking along. She is met by a gentleman, who raises his hat 
most politely just as the song begins. The song should be sung 
by one member of the Silhouette singers, the rest joining in the 
chorus.] 

“Where are you going, my pretty maid?” 

Cho.— Y-W-C-T. U. 

“ I’m going to meeting, Sir,” she said, 

“ For I am a temperance maiden.” 

Cho.— Y-W-C-T. U. 

Y-W-C-T. U. 



A SILHOUETTE SOCIAL. 


37 


44 I’m going to meeting, Sir,” she said, 

44 For I am a temperance maiden.” 

44 May I go with you, my pretty maid ?” 

Cho.— Y-W-C-T. U. 

44 If you’ll sign the temperance pledge,” she said, 
44 And vote for Prohibition.” 

Cho.— Y-W-C-T. U. 

Y-W-C-T. U. 

44 If you’ll sign the temperance pledge,” she said, 
44 And vote for Prohibition.” 

44 What will reward me, my pretty maid,” 
Cho.— Y-W-C-T. U. 

k4 Your conscience will tell you, Sir,” she said, 

44 That you’ve done a fitting duty.” 

Cho.— Y-W-C-T. U. 

Y-W-C-T. U. 

44 Your conscience will tell you, Sir,” she said, 

44 That you’ve done a fitting duty.” 

44 What willj you give me, my pretty maid?” 
Cho.— Y-W-C-T. U. 

44 A piece of white ribbon, Sir,” she said, 

44 A place in my autograph album.” 

Cho.— Y-W-C-T. U. 

Y-W-C-T. U. 

44 A piece of white ribbon, Sir,” she said, 

44 A place in my autograph album.” 

44 1 see you’re in earnest, my pretty maid,” 
Cho.— Y-W-C-T. U. 

44 So I’ll take the white ribbon, now,” he said, 

44 And a place in your autograph album.” 


3§ 


A SILHOUETTE SOCIAL. 


• Cho.— Y-W-C-T. U. 

Y-W-C-T. u. 

w So I’ll take the white ribbon, now,” he said, 

“ And a place in your autograph album.” 

[In the second verse of the song the gentleman turns away 
as if considering ihe matter; in the third he makes a gesture of 
persuasion, and nods his head gravely in agreement with the 
maiden’s answer. In the fourth verse she produces a piece of 
white ribbon and a pledge-book. In the fifth he signs it, and 
she ties on the ribbon just as the curtain falls. The whole suc¬ 
cess of the pantomime depends, of course, on the expression put 
in the gestures. In singing the chorus, the letters Y. W. and C., 
must be given the time of two notes.] 


Song — 

THE BETTER PLAN. 

Air:—“Cornin’ Thro’ the Jtye.” 

If a body meet a body, 

Who won’t sign the pledge, 

Shall a body wound a body 
With contempt’s cold edge? 

Should not that same body rather 
Strenuously try 

To show the other body that he’d 
Better join the Y? 

If a body meet a body, 

Who at temperance jeers; 

Shall a body box a body, 

On a body’s ears? 

Would it not be better rather 
The jeering to pass by, 

The while the body sayeth sweetly. 

“ Come and join our Y?” 

Well, the time is coming surely 
When a body’ll see 

That a temperance pledge is something 
Made to set one free. 



A SILHOUETTE SOCIAL. 


39 


And there’ll be no need for workers 
Furthermore to try— 

For everybody’ll be a member 
Of a temp’rance Y. 


[The last part of the program consists of a series of shadows 
illus 1 rating some of Shakespeare’s words. The audience may be 
asked to guess the quotation corresponding to the pantomime. 
The shadows are as follows:] 

I. A shadow flits across the sheet to represent 
“ Swift as a shadow, short as any dream.” 

II. A gentleman steps outside the curtain and 
spars with the shadow seen on the white, to show that 
“ He will fence with his own shadow.” 

III. The gentleman walks slowly across in front 
of the sheet while the shadow limps after him to illus¬ 
trate “ So far this shadow doth limp behind the sub¬ 
stance.” 


CHORUS OF SILHOUETTE SINGERS. 

Air:—“ Clementine.” 

Prohibition is the substance, 

And High License is the shade, 

Limping always in its efforts, 

Howsoe’er it be essayed. 

Chorus.— “No High License,” “No High License,” 
Is the watchword of our war. 

Give us always Prohibition 
Prohibition—evermore. 

Safe and sure is Prohibition, 

But High License is a snare. 

Give us always Prohibition, 

Prohibition—everywhere.— Cho. 




4 ° 


A SILHOUETTE SOCIAL. 


, IV. A long letter “ I,” made of brown paper, is 
pinned on the inner side of the sheet, and about it 
smaller letters to form the word Her. Other letters, 
to make the word Myself, are pinned across the “I,” so 
that the whole reads, “ The shadow of myself formed 
in her eye.” 

V. Two shadows appear, and, linking arms, 
walk away, giving, “ We’ll yoke together like a double 
shadow.” 


VI. The shadow of the Temperance Temple ap¬ 
pears. To obtain this the shape of the Temple must 
be cut from paper, with little places cut out for the 
windows. This is pinned on the sheet and the quota¬ 
tion as to words and author must be guessed. The 
author is Campbell and the quotation is, “ Coming 
events cast their shadows before.” 

[Just here is the place for the leader’s plea for the Temper¬ 
ance Temple. Mrs. Carse’s leaflets will give all necessary infor¬ 
mation on this subject, and as long a talk can be given as time 
will permit. Write to Mrs. T. B. Carse, 161 La Salle Street, 
Chicago, Ill., inclosing stamps, for her last annual report, and 
Miss Willard’s Monthly Reading for May.] 


Recitation .— 

THE TEMPERANCE TEMPLE. 

Oh, fair is the vision that greets me, 

As my eyes pierce futurity’s veil, 

Of a Temple whose wonderful beauty 
Outrivals antiquity’s tale. 

Its walls are o : marble the whitest, 
Symbolic of purposes pure, 

And the grandest of human endeavors 
In its massive proportions endure. 



A SILHOUETTE SOCIAL. 


4 1 


Each statue so proudly uprising, 

Each beautiful fresco of art, 

Embodies a sacrifice noble, 

From many a womanly heart. 

America’s women are praying 

For the day when their eyes shall behold 
The glorious Temperance Temple, 

In its wonderful beauty unfold. 


[As a hint of what is to follow, there can now be shown the 
shadow of a collection-basket; or the word “collection” may be 
i! ade to appear by pinning to the sheet a newspaper in which the 
letters forming this word have been cut out. 

The program is arranged to fill only a part of the evening. 
The rest of the time may be devoted to silhouette cutting and to 
“ Dissected Silhouettes.” 

Get some artistic member to cut from black paper the Sil¬ 
houettes of those present. This will create a great deal of amuse¬ 
ment, and the cuttings may be sold for the benefit of the work. 

For “ Dissected Silhouettes,” make a number of Silhouettes 
of the Temple of the same size. Make them of stiff cardboard, 
and then cut them into small pieces, using the same method of 
division for each one. Put these into envelopes and give one to 
each guest who, at a given signal, shall strive to be the first to put 
the pieces together in proper form. 

(This idea is taken from Our Youth, published by Phillips 
& Hunt, 805 Broadway, New York. For further details send 
to this firm ten cents in stamps, for numbers six and nine of vol¬ 
ume five.) 

Do not have any prizes. Let the Young Woman’s Christian 
Temperance Union strive to bring back the good old order of 
affairs,where prizes were not considered necessary for an evening’s 
enjoyment. If refreshments are served, wooden pla es decorated 
with little Silhouettes may be used. 

In changing the program from shadows to songs, there will 
have to be a change in the light in the room, but this can be ar¬ 
ranged by having the singers seated near a tall lamp or gaslight, 
which can be turned up or down, to suit the needs of the case.] 



4 3 


A SILHOUETTE SOCIAL. 


THE TEMPLE FOR TEMPERANCE BUILT. 

A Collection Dialogue for the Temperance Temple. 

[The children should come upon the stage separately and 
stand side by side.] 

ist child. ( Showing picture of Temple .) 

This is the Temple for Temperance built. 

2d. ( Carrying banner with letters , “ Nadi W. C. 

T. U.”) 

These are the folks who belong to the Temple for 
Temperance built. 

jd. ( Carrying banner with motto , “ For God 
and Home and Native Land.” 

This is the motto beloved by the folks who belong 
to the Temple for Temperance built. 

4th. ( Carrying baton tied with white ribbon.') 

This is the badge that is worn with the motto 
beloved by the folks who belong to'the Temple for 
Temperance built. 

yth. (Carrying banner with words , “ Total 
Abstinence , Prohibition.”) 

This is the flag that floats o’er the badge that is 
worn with the motto beloved by the folks who belong 
to the Temple for Temperance built. 

6th. (Showing Miss Willard's picture.) 

This is the leader who leads the hosts ’neath the 
flag that floats o’er the badge that is worn with the 
motto beloved by the folks who belong to the Temple 
for Temperance built. 

7 th. ( Carrying banner on which are pictures 
of our prominent workers .) 

These are the people all true to the leader who 
leads the hosts ’neath the flag that floats o er the badge 
that is worn with the motto beloved by the folks who 
belong to the Temple for Temperance built. 


A SILHOUETTE SOCIAL. 43 

8 th. ( Carrying shield on which are painted 
dollar marks.) 

These are the dollars raised by the people all true 
to the leader who leads the hosts ’neath the flag that 
floats o’er the badge that is worn with the motto beloved 
by the folks who belong to the Temple for Temperance 
built. 

Enter Jour little girls carrying white-ribboned 
baskets ; they separate , two standing at each end of the 
line — then they repeat in concert: 

These are the baskets that wait for your gifts to 
add to the dollars raised by the people all true to the 
leader who leads the hosts’ neath the flag that floats o’er 
the badge that is worn with the motto beloved by the 
folks who belong to the Temple for Temperance built. 

All repeat in concert: 

“ And they came, every one whose heart stirred 
him up, and every one whom his spirit made willing, 
and they brought the Lord’s offerings to the work of 
the tabernacle of the congregation.” 

( The first eight children retire , while the four 
girls pass through the audience with their baskets.) 

— The Toung Crusader. 


1 


MISTRESS MARY aid HER FLOWER GARDEN 


[Eleven maidens are chosen to represent the following 
flowers — Pansy, Lily, Peach-blossom, Sunflower, Daisy, For¬ 
get-me-not, Apple-blossom, Nasturtium, Rose and Gladiolus. 
Their shape and color are shown by the large tissue-paper head¬ 
dresses from which the faces of the girls peep forth. The flowers 
are arranged in a row back of a fence or railing covered with 
vines, and as the curtain rises they sing:] 

[Air — “Mistress Mary.’’] 

Mistress Mary, quite contrary, 

How does your garden grow? 

With silver bells, and cockle shells, 

And Flower-maids, all in a row, row, row. 

[This is sung three times. During the second singing, the 
Bells, ten in number, enter the stage from one side while the 
ten Shells enter from the other. They group themselves on 
their respective sides, and at the third singing of the verse Mis¬ 
tress Mary enters, carrying a basket of flowers on her arm. She 
passes in front of the Flowers, and as soon as the song ceases 
steps forward and speaks as follows:] 

Mistress Mary — 

You are welcome, kind friends, to my garden, 

This realm of which history tells; 

A welcome three-fold is here given 

From my Maids, and my Bells, and my Shells. 

[Mistress Mary indicates each with a gesture, and in response 
the Flowers bend their heads slightly, the Bells tinkle softly the 
little bells that they carry in their hands, and the Shells make a 
low murmur which comes, apparently, from the large shells they 
hold.] 

Are you wondering, though, friendly hearers, 

That such a fair spot as you spy 

Should belong to one known as “contrary”? 

Let me tell you the reason, and why. 



MISTRESS MARY AND HER FLOWER GARDEN. 


u Contrary ” — yes, that is the title 

That all through these years I have borne, 

While on me the eyes of the children 
Have looked in a wondering scorn. 

It is sad, yet I think I can offer 
A reason your judgment to span. 

Contrary in my case means—- adverse , 

And such I confess that I am. 

Adverse to that Giant Intemperance 
Who waits for the children of men; 

When I see him so cruel and crafty, 

Can I help being contrary then? 

When I gaze on his helmet marked “ License,” 
That dazzles again and again, 

Be its value one cent or one million — 

Can I help being contrary then? 

Think well of my title, I beg you, 

Consider this giant in view, 

Having learned of this great why and wherefore, 
Won’t you come and be contrary too? 

Chorus oj Flowers — 

[Air — “ Mistress Mary.”] 

Join our Mary, thus contrary, 

Turned against the foe — 

With silver bells and cockle shells 

And Flower-maids all in a row, row, row. 

Join our Mary, thus contrary, 

Turned against the foe — 

With silver bells and cockle shells 
And Flower-maids all in a row! 

Mary continues — 

I assure you that if you will join me 
You’ll not be alone or despised, 


46 MISTRESS MARY AND HER FLOWER GARDEN. 

For such contrary maids are now many, 

And are honored by being called Y’s. 

In the broad-stretching field of our Union 
They are gaining in strength and in power, 

And to show forth their growth and their language 
Each state has selected a flower. 

Massachusetts has chosen the Pansy , 

Virginia, the Lily of white; 

The Peach-blossom , promise of fruitage, 

Little Delaware claims as her right. 

In Kansas the Sunflower is gleaming, 

A Daisy Columbia brings, 

While Connecticut’s choice, like her river, 

Is Forget-me-not , bluest of things. 

Pennsylvania — our honored old Keystone — 

Her members and strength daily grow; 

Gladiolus the flower she has ch'osen, 

With its language, “Our face to the foe.” 

Apple-blossoms from Oregon greet us; 

Ohio Nasturtium shows; 

While New York, from her wealth of resources, 
Has chosen the blossoming Rose . 

[As Mistress Mary names the Flowers, they bend their heads 
in response to their names. The words should be given very 
slowly, so that each Flower will have a chance to respond.] 

Such the flowers that are growing up blithely 
In my garden so famous and fair, 

Each blossom unfolding its beauty 
In the temperance sunshine and air. 

But we must not forget in this garden 
The Bells of a silvery sheen, 

Or the Shells, where the voice of the ocean 
Is hushed in a murmuring dream. 


MISTRESS MARY AND HER FLOWER GARDEN. 47 


From the spires of high purpose and effort 
Come the silvery tones of the bells. 

From the depths of the tide of endeavor, 

Come the answering tones of the shells. 

[The Bells respond as before by a soft ringing, and the 
Shells murmur low.] 

Song by Flowers — 

[Air—“ Spanish Guitar.”] 

All over this country of freedom 
The Y’s now are ringing the bells; 

From the White Ribbon host that is gathered, 

A glorious melody swells. 

Chorus (with bell accompaniment'). 
Ring-a-ling-ling, ring-a-ling-ling! 

Ring out, ye bells, 

Oh, ring out, ye bells! Oh, ring out, ye bells! 
Ring-a-ling-ling, ring-a-ling-ling! 

Ring out, ye bells! 

Oh! ring out, ye temperance bells! 

[The Bells cease and the Flowers repeat softly the air of 
chorus with the following words, while the Shells murmur in ac¬ 
companiment. They should not murmur the air, but all should 
hum on a low note.] 

Murmuring, murmuring — 

List to the Shells, 

Oh, list to the Shells, oh, list to the Shells; 
Murmuring, murmuring, 

List to the Shells, 

Oh, list to the echoing shells. 

The North and the South are united 
And stand in this work hand in hand, 

To see that the error be righted,* 

And the enemy sent from the land. —Chorus. 

The chorus is pealing out grandly, 

But we need every nation and clime 


4 8 


MISTRESS MARY AND HER FLOWER GARDEN. 


To help in this temperance ringing, 

And join in this temperance chime.— Chorus. 

All ye here who list to our singing, 

To join us at once we invite. 

Come, help in our temperance ringing, 

Don’t wait, but begin now, to-night. —Chorus. 

Mistress Mary continues — 

From the high vantage ground of my garden, 
Strange visions have sometimes been mine; 
’Tis the task of the Flowers to embody 
Such visions in suitable rhyme. 

Song by Flowers — 

[Air — “ Maid of York Beach.”] 

Oh, some time ago, I remember it well, 

Ting, ting, 

There lived in a belfry a silent old bell — 

Ting, ting. 

The sexton did pull and the sexton did shake, 

But never a sound did that gloomy bell make! 
Ting, ting, ting, ting, ting, ting, ting, ting, ting, 
ting, ting. 

The sexton gave up, and the people then tried, 
Ting, ting, 

But their most urgent tugging the old bell denied, 
Ting, ting. 

So they sat themselves down in great sorrow and 
pain, 

Forced sadly to say that their work was in vain, 
Ting, ting, ting, etc. 

While sitting thus solemnly round in a row, 

Ting, ting, 

A thrill of astonishment through them did go, 
Ting, ting, 


MISTRESS MARY AND HER FLOWER GARDEN. 49 

For a wee little maiden who sat them among, 
Cried out, “Poor old bell, why, you have n’t a 
tongue! ” 

Ting, ting, etc. 

The wonder then was that the fact had been hid, 
Ting, ting, 

But it wanted a clapper, it certainly did, 

Ting, ting, 

And before the dark shades of the evening fell, 
There rang on the air the sweet notes of that bell, 
Ting, ting, etc. 

And the moral is now to all workers addressed, 
Ting, ting, 

Over obstinate silence be never depressed, 

Ting, ting, 

Don’t mourn over people who’ve nothing to say, 
Perhaps they would speak if you showed them the 
way, 

Ting, ting etc. 

[This song should be given as a solo, if possible. At the 
ting, ting, after the first two lines, one of the Bells should tinkle 
her bell, and in the last ting, ting, etc., all should ring their bells. 

Mistress Mary continues — 

Still another — this picture is brought us 
By the Shells from their home in the spray; 

Will you listen to what they would tell us 
If voices were given to say? 

Song' by Flowers — 

[Air—“My Bonnie.”] 

Each life is a boat on an ocean, 

Each life is a boat on a sea, 

Where the surge-covered rocks ever menace, 
And no one from danger is free. 


50 MISTRESS MARY AND HER FLOWER GARDEN. 


Chorus.— No one, no one, 

No one from danger is free, is free, 

No one, no one, 

No one from danger is free. 

[The chorus is repeated softly, the Shells murmuring in 
accompaniment.] 

But out of the darkness that threatens 
Each vessel that sails o’er the sea, 

A light-house of temp’rance is standing, 

A guide for the sailor to be.—C horus. 

Shine out, shine out, 

Ye temperance lights o’er the sea, 

Shine out, shine out, 

Ye temperance lights o’er the sea.— Chorus. 

Be saved, we beseech, by this gleaming, 

By these rays that shine over the sea, 

And bear on your pennons the watchword, 
“For God and the home of the free.” 

Chorus. —Work on, work on, 

For God and the home of the free. 

Work on, work on, 

For God and the home of the free. 

Mistress Mary Continues — 

One more picture and then we must leave you, 
Yet a word, ere we sing our last song: 

Once more we invite you to join us, 

And stand out adverse to the wrong. 

Adverse to the Giant Intemperance, 

Who waits for the children of men. 

When you know of the future that’s coming, 
Well — you’ll have to be contrary then. 

Song by Flowers — 

[Air—“Mrs. Brady’s Daughter.”] 

There is devising 
And slowly rising 


MISTRESS MARY AND HER FLOWER GARDEN. 51 

By public sentiment, a steeple round, 

Wherein most surely 
Shall hang securely 

A bell which giveth no uncertain sound. 

Chorus.— This is its mission, 

For Prohibition 

To ring forever, to ring alwav — 

And scores of people 
Will see that steeple, 

And live to hear the music of that day. 

Each word of beauty, 

Each deed of duty, 

Is helping raise this steeple toward the sky. 

And lawful power 
Will bring the hour 

When the bell shall peal the mighty victory nigh. 

[Chorus in which the bells ring. At its close all join in 
closing song. Air— “Mistress Mary.”] 

Fare ye well, then, all ye kind friends, 

Forward we must go, 

With Temperance Bells and Temperance Shells, 
And Temperance Maids in a row, row, row. 

[At the repetition of this verse the Bells and Shells, headed 
by Mistress Mary, march out — crossing and winding in and out 
as they go. The Flowers remain in place and repeat the song 
until the march is finished and the curtain falls.] 


SUGGESTIONS. 

The above entertainment may be used as an addi¬ 
tion to the entertainment, “ An Hour with Mother 
Goose,” or to a series of shadow pantomimes arranged 
from the “ Temperance Mother Goose,” or it may be 
made one of the features of a Mother Goose bazaar. 

Mistress Mary should wear a pale green or a pure 
white dress, and should have a large hat, either wear¬ 
ing it or hanging it by ribbons on her arm. 



0 


52 MISTRESS MARY AND HER FLOWER GARDEN. 

The Shells and Bells should be dressed in white, 
the former with tissue-paper sea-weed arranged on 
their dresses, the latter being adorned with little silver 
bells. 

The flower-pieces are made upon wire or paste¬ 
board, to which are attached the petals wired into 
proper shape. 

(Any unions wishing to rent such head-pieces may 
do so for the sum of two dollars and expressage, by 
applying to Miss Anna Hoopes, 912 West Tenth St., 
Wilmington, Delaware.) 

The flowers chosen are such as can be made most 
easily in this way. If other flowers are desired, appro¬ 
priate words may be added by Mistress Mary. » 

If the platform is large enough to hold a longer 
row of flowers, some of them may be duplicated, and 
there may be two pansies, two daisies and two apple- 
blossoms. 


BOOKS REQUIRED. 

[The music and any other needed books may be obtained of 
the W. T. P. A., 161 La Salle St.] 

Ye Hatchet Partie. 

** Students’ Songs — 50 cents. 

Band of Hope Songs— 10 cents. 

A Silhouette Social. 

College Songs — 50 cents. 

Students’ Songs. (See above.) 

Mistress Mary and Her Flower Garden. 

Quadrilles and Country Dances set to Nursery 
Rhymes — 25 cents. 

Mrs. Brady’s Daughter— 35 cents. 

Students’ Songs. (See above.) 



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library of congress 




































